Two dogs howling at the moon,

1961

<p><em>Student Essay for CWR 209 / ART 223 / COM 240 / GSS 277 Along the Edge: Leonora Carrington</em></p><p> <p><em>Two Dogs Howling at the Moon</em> is not only the earliest Carrington piece in Princeton’s collection, but is also one of her more colorful works. After reading the title the viewer initially focuses on the ‘two dogs’ whose heads tilt upwards towards a ‘moon’ that is upside-down, indicating that we have entered a world that does not abide by the rules we are used to. Between the two dogs, six droplets of water hang suspended in the air, and it is unclear whether they are falling from the sky or are being thrown upwards by the purple lobster-like creature who sits in a puddle of water below them. </p></p><p><p>Furthermore, the centerpiece of the ‘two dogs’ demonstrates the theme of doubling that is extremely prominent throughout the rest of the painting. This pattern continues through the line of trees that mirror each other along the left and right sides of the work, as well as the castles in the top left and top right corners. However, within each of these pairs, Carrington has drawn deliberate differences. The castle on the right seems more illuminated than its counterpart on the left as each indent and scratch on its surface is more clearly pronounced. When comparing the trees, those on the right stand in a row of three while, in contrast, only two trees line the left side of the painting. Furthermore, the dog and all of the trees on the right side of the painting are white while their doubles on the left are black. This difference in coloring gives the illusion that the tilt of the crescent moon downwards, towards the right sight of the painting gives its objects more light, creating a contrast between the two halves of the work.</p></p><p><p>Another type of doubling occurs with the orange, tree-like creature in the center of the painting which peers into a blue image on the ground that may be its own reflection. Once again, this pair is by no means identical and is additionally colored differently–the upright tree being orange while its counterpart on the ground is a bright blue. Furthermore, with its possession of a face and arms, this creature embodies Carrington’s tendency to blur the line between different species. Through providing it with human-like features, the viewer questions the qualities we often associate with trees, wondering what unusual capabilities it might possess.</p></p><p><p>Finally, upon closer examination of the painting, one notices the white lines that trace a cube around middle of the scene and extend outside of the plane of the painting. This outline creates the impression that the orange and blue creatures are inside of the box while the rest of the objects in this painting are on the outside. Through examining this division in the painting, the viewer questions the nature of the relationship between the different objects present. Does the box aim to confine and isolate the tree-like creatures, or rather, are the other creatures being prevented from entering a sacred space in the center of the painting?</p></p><p> <em>Hanna Soulati, Princeton Class of 2022</em></p>